Jazz and Improvised

Pink - Diana Panton Trio + 1

03_diane_panton Pink

Diana Panton Trio + 1

Independent DP009CD1 (www.dianapanton.com)

On “Pink” Diana Panton is staying the course she plotted with her first two well-received albums. She’s working once again with a small group – although when one of the band members is genius multi-instrumentalist Don Thompson you get a lot of bang for your musician buck. Reg Schwager is also back, accompanying with his customary artful and sensitive playing. A new addition, and a completely fitting one given Panton’s languid style, is trumpet and flugelhorn player, Guido Basso. His fills and solos add rich warmth to the mix, like honey drizzled over an English muffin, filling in all the nooks and crannies.

Panton has carefully chosen a collection of well-crafted songs that she can mine for lyrical gold. She is foremost a story teller - not a flashy or emotionally overwrought singer - Panton simply and deftly presents the songs so the listener can take them in without being distracted by vocal pyrotechnics. With her soft, sweet voice and sincere delivery you can really believe it when she sings “This is my first affair” on Please Be Kind and on Wouldn’t It Be Loverly when she pines for “a room somewhere, far away from the cold night air” you just want to run right out and find her one!

If you’re a fan of Panton’s, or if you’re looking for an album of thoughtful, accessible songs, beautifully sung and played, “Pink” would be a wonderful addition to your collection.

Blips and Ifs - Gino Robair; Birgit Ulher

02_blips Blips and Ifs

Gino Robair; Birgit Ulher

Ratascan Records BRD 062 (www.ratascan.com)

Percussion doesn’t have to involve bombast, beats or even a full drum set. That’s the idea of Californian Gino Robair who played with Toronto improvisers at Somewhere There the last week of November.

Robair, a Free Music veteran who uses drums as resonators for bowed, scraped and rubbed objects and amplifies his instrument using circuit-bending electronics, demonstrates the resulting sonic freedom on the onomatopoeically titled “Blips and Ifs”. Partnered by German trumpeter Birgit Ulher, whose understated brass timbres are processed through radio speakers, the two express the cited sounds and many others in seven improvisations.

The resulting duo recital is equal parts pressured air, droning pulses, unexpected pauses and circuitous wave forms. Throughout the two expose unique timbres which see-saw during contrapuntal improvisations. Ulher combines mouthpiece kisses, static air wafting and, tongue thumps with suggestions that she’s masticating each tone individually. Robair’s contribution includes blurry machine oscillations, intermittent rumbles, slide whistle-like peeps and percussive timbres that could arise from dominos clacking against one another, sticky door hinges yawning, or unyielding metal being rubbed by blunt objects.

Circular and contrapuntal, the CD reaches its climax with the lengthy Rings Another Rust. Mesmerizing, the Ulher-Robair face-off depends on the ramping tension engendered accelerating in short bursts and then subsiding. Since almost no instrumental timbre is instantly identifiable by its expected properties, the pleasure of this exercise in abstract improvisation lies in itemizing how frequently and how surprisingly new and unexpected connective textures are exposed.

Ken Waxman

S'cat got my tongue - Ori Dagan

01_ori_dagan S'cat got my tongue

Ori Dagan

Scatcat Records ODCD01 (www.oridagan.com)

Toronto-based singer, Ori Dagan has released his debut CD, “S’cat Got My Tongue”, and he is one of the few new singers I’ve heard lately who has a true grasp of what it is to be a jazz singer. Dagan hasn’t simply chosen a bunch of standards, hired some jazz musicians for back up and called it a jazz album. He has immersed himself in the genre, learned his craft and re-imagined these songs in his own way. Not that this is a serious, studious album - far from it. There’s lots of playful interaction, especially with the cream-of-the-crop female singers he’s enlisted for duets. Heather Bambrick gets all Louis Armstrong on Swing’s the Thing, Julie Michels is at her earthy best on Old Mother Hubbard and he and Sophia Perlman have great fun trading wicked fast scat solos in S’Qua Badu Bop, an original composition. Dagan can also croon out a beautiful ballad as in Dinde, a gorgeous, but lesser-known Jobim tune and ‘Round Midnight, with Bernie Senensky’s masterful accompaniment on piano. Dagan’s penchant for scooping can at times veer a little too far into Las Vegas lounge singer territory for my liking, but when he takes a controlled approach and cleanly attacks the notes as he does on Here’s That Rainy Day, his abundant talent shines through.

Little Black Bird - Ernesto Cervini Quartet

01 ernesto_cervini Little Black Bird

Ernesto Cervini Quartet

Orange Grove Records OG-1104

(www.ernestocervini.com)

Another step forward in the career of Ernesto Cervini, “Little Black Bird” again demonstrates the high level of musicality possessed by this excellent drummer who incidentally is also no slouch on piano and clarinet. In other words, a very musical drummer.

The material on the album is original, creative and played with authority by four musicians who prove that the whole can definitely be greater than the sum of the parts. If you are into the more contemporary sounds of jazz, this is right up your alley.

In a nicely varied selection, for me one of the highlights is Nonna Rosa, a haunting ballad played with a sensitivity and restraint that show a high level of maturity. Indeed, Joel Frahm’s playing throughout the album is impeccable, which is not to take away from the telling contribution made by Adrean Farrugia on piano and bassist Jim Majaraj.

The title tune, Little Black Bird takes off into more esoteric territory as do Cerebrau and Seven Claps, while Coconut Bill shows that this group can really swing when it wants to.

Concert Note: The Ernesto Cervini Quartet will be touring to promote the new CD and you can catch them at The Rex on December 5 and 6.

The Chick Corea Songbook - Manhattan Transfer

02_manhattan transfer The Chick Corea Songbook

Manhattan Transfer

4Q FQT-CD-1819 (www.kochcan.com)

One of the hallmarks of a great musician is the desire to continually seek out new musical challenges. The temptation to please your fans and record company by sticking to the tried and true is ever present, so The Manhattan Transfer’s willingness to stretch themselves by tackling “The Chick Corea Songbook” is highly laudable. Not only are these songs incredibly difficult to sing, but many are revered by jazz fans, so any reinvention risks being viewed as musical blasphemy. But if any vocal group is up to the challenge it’s the eight-time Grammy award-winning Manhattan Transfer. Arranger Yousuf Gandhi has done marvellous things with these songs; interweaving multiple melodies, drawing on a variety of cultures for fresh sounds and alternating between a small army of musicians and synthesizers on some songs, and just stripped back voice and piano on others. Spain has been broken into two parts and while the Prelude is a bit strained, when it moves into the medium groove of the main song and is given a funky bhangra treatment, it feels completely right. Free Samba is a mini carnival with its clever evocation of a Brazilian rainforest and an electrifying solo by Corea himself, and Another Roadside Attraction is a complex marvel that could be a case study for aspiring vocal arrangers. This isn’t a readily accessible record, but for fans of the Transfer and Corea it is an adventure well worth taking.

Interventions into Bach & Mozart - Vyacheslav Guyvoronsky

03_buyvoronsky_bach Interventions into Bach & Mozart

Vyacheslav Guyvoronsky

Leo Records CD LR 534

(www.leorecords.com)

Resulting from a dream where he says the composers suggested to Russian trumpeter Vyacheslav Guyvoronsky that he write additional parts for two of Bach’s and one of Mozart’s keyboard works, these “Inventions” are as musical as they are memorable.

Guyvoronsky, who studied trumpet at the Leningrad Conservatory, is most audacious on Inventions II based on Bach’s Art of the Fugue. Partnered by violinist Vladislav Pesin, the players partially deconstruct and roughen the familiar composition. Leaving space for the violinist’s lyrical expansion, this interpretation uniquely bustles. Facing ascending grace-note smears and rubato abrasive echoes from Guyvoronsky, Pesin’s strategy is staccato and presto, encompassing angled spiccato and triple-stopping, with col legno sweeps so extreme they seem to be furrowing the fiddle’s wood.

Built on Bach’s French Partita, Inventions I is for flute, accordion, trumpet, bass and soprano voice. Singing in French, Ariadna Koryagina’s agile tessitura intertwines polyphonically with Grigory Voskoboinikov’s burbling bass line, Evelyn Petrova’s contrapuntal bellows pump and heraldic brass flourishes. Slightly cheeky, somewhat stop-time and always contrapuntal, the instruments add rococo detailing everywhere and swing at points, throwing into bold relief Koryagina’s subtle and supple interpretation. This half-hour-plus compositional re-think wraps up with a bass string slap. Inventions III, after Mozart’s Sonata C-dur, is a humorous bagatelle for violin (Pesin), cello (Vladimir Guyryushov), and piano, most notable for the light touch and sprinkled arpeggios of pianist Polina Fradkina.

The CD confirms that with skill, familiar compositions – especially Bach’s – can be distinctively re-interpreted.

Jazz Extended Play - The Dawn of Addo Records and other welcome local releases - November 2009

Tales of big labels retrenching and jazz musicians struggling to finance CDs are legion today – but hang on, start cheering. Steve Bellamy, who’s been recording and producing jazz and classical music for 15 years, has started a Toronto-based label - Addo Records (www.addorecords.com) – with three splendid recordings of top-flight Canadians. Liner notes are by local musicians and planned 2010 releases are already in the can.

01_macdonald Saxophone star Kirk MacDonald opens Addo’s account with Songbook Vol.1 (Addo Jazz Recordings AJR001) with seven of his own tunes and quality sidemen in pianist David Virelles, bass Neil Swainson and volatile drummer Barry Romberg. This adventurous music offers tuneful momentum, rhythmic flair and opportunities for bold contributions from bandsmen backing the leader’s warm, expressive and appealing sound – Virelles and Romberg are never still while Swainson’s lush-toned bass anchors proceedings. The opening, expansive New Piece features flowing ideas, and you understand how Kirk has embraced composition as well as stellar performance. There’s winsome balladry on Calendula, passion lamenting late saxist Glenn McDonald, plus fiercely restless work on By Invitation Only (no prizes for knowing the inspiration).

02_quinlan Mega-versatile guitarist Ted Quinlan, equally comfortable with B3 banger Tony Monaco and string peers like Pat Metheny and Joe Hall, is up next with Streetscape (Addo Jazz Recordings AJR002) featuring nine originals, sterling support from bass Kieran Overs and drummer Ted Warren and his penchant for strong, attractive melodies flagging both old and new approaches. Notes are picked with care, yet there’s often unusual choices à la Bill Frisell. The trio fits seamlessly in an elegant atmosphere, creating mysterious note weaves that nonetheless deliver zestful, snaky improv - but overstatement never cramps finesse on Go West and Vibrolux. The pulse quickens on Speakeasy while Crowchild reveals deep emotional focus. This balanced offering swings breezily to the closing Block Party.

03_field_trip Montreal-based trio Fieldtrip, whose edgy self-titled debut stirred free jazz fans, pulls its horns in somewhat with No Destination (Addo Jazz Recordings AJR003), boosting the power trio of alto Colin Power, bass Patrick Read and drummer Mark Nelson with energetic tenor Kelly Jefferson and guitarist Jim Head. Most tunes come from Power and Read and you wonder, briefly, if this group has turned respectable. It’s cooler only in the sense there’s more melodic structure and harmonic nuance than before to accompany the imaginative elements of musical wanderlust. There’s good chemistry on Sounds On Silence and the surging I Am The Impostor, with each tune splashing a kaleidoscope of ideas that crash with ease through genres and approaches. It’s worth more than a second listen.

04_disterheft Rising bass star Brandi Disterheft trolls new territory on Second Side (Justin Time Records JTR 8544-2 www.justin-time.com), adding vocals she surprised us with when opening for Dave Brubeck in the summer, but showing again that she’s in full control of her music, if not the photographers who’ve glammed her up excessively on the album sleeve. With a hand in 10 of the 11 tracks that she’s arranged, her concept is a musical journey entwined with love - but were guest singers Ranee Lee and Holly Cole needed as the boss fashions a classic pop, classic jazz mélange? Disterheft is backed by a bevy of striking players such as saxman Chris Gale, pianist Stacie McGregor and inevitably drummer Sly Juhas. The starter Sketches Of Belief has the magisterial air of a Miles Davis, there’s a neat Brazilian lilt to Twilight Curtain and some ‘outside’ horn rumbling on My Only Friends Are The Pigeons. I’d have liked more instrumentals with the basic trio such as A Night In Haiti that let Disterheft display her considerable bass chops, while her toying with kalimba hints at interesting future possibilities.

05_sigesmund Trombonist Darren Sigesmund is pursuing a somewhat similar course, bringing classical aspects – courtesy of European composers such as Rodriguez, and de Falla – and rock staples into a contemporary jazz mode, heading up a septet in which U.S. saxman Tim Ries has added colour to the leader’s eight thickly-textured pieces on Strands II (DS 09001 www.darrensigesmund.co m). You’ll enjoy stuttering rhythms, florid outbursts and Sigesmund’s agile yet smooth-toned trombone. Horns drift sometimes but there’s always something happening, with guitarist Reg Schwager and percussionist Daniel Stone cutting through the forest frequently with ecstatic soloing. Vocal textures from Eliana Cuevas heighten intriguing sounds, and listen out especially for confident and committed playing on Dance For Leila, Castle In The Storm and the zippy El Inicio.

Concert note: This album will be officially released Nov. 6 at Hart House.